Then Iago, as if glad that Othello was slow to believe ill of his lady, frankly declared that he had no proof, but begged Othello to see her behavior well, when Cassio was by; not to be jealous nor too secure neither, for that he (Iago) knew the dispositions of the Italian ladies, his country-women, better than Othello could do; and that in Venice the wives let Heaven see many pranks they dared not show their husbands. Then he artfully insinuated that Desdemona deceived her father in marrying with Othello, and carried it so closely that the poor old man thought that witchcraft had been used. Othello was much moved with this argument, which brought the matter home to him, for if she had deceived her father why might she not deceive her husband? Iago begged pardon for having moved him; but Othello, assuming an indifference, while he was really shaken with inward grief at Iago’s words, begged him to go on, which Iago did with many apologies, as if unwilling to produce anything against Cassio, whom he called his friend. He then came strongly to the point and reminded Othello how Desdemona had refused many suitable matches of her own clime and complexion, and had married him, a Moor, which showed unnatural in her and proved her to have a headstrong will; and when her better judgment returned, how probable it was she should fall upon comparing Othello with the fine forms and clear white complexions of the young Italians her countrymen. He concluded with advising Othello to put off his reconcilement with Cassio a little longer, and in the mean while to note with what earnestness Desdemona should intercede in his behalf; for that much would be seen in that. So mischievously did this artful villain lay his plots to turn the gentle qualities of this innocent lady into her destruction, and make a net for her out of her own goodness to entrap her, first setting Cassio on to entreat her mediation, and then out of that very mediation contriving stratagems for her ruin.